By Kenton O'Hara, Barry Brown
Hearing, paying for and sharing track is an immensely vital a part of daily life. but fresh technological advancements are more and more altering how we use and devour song. This e-book collects jointly the newest reviews of song intake, and new advancements in song expertise. It combines the views of either social scientists and know-how designers, uncovering how new tune applied sciences are literally getting used, in addition to discussions of recent tune applied sciences nonetheless in improvement. With a particular concentrate on the social nature of track, the ebook breaks new floor in bringing jointly discussions of either the social and technological features of tune use. Chapters hide themes corresponding to using the iPod, track applied sciences which inspire social interplay in public locations, and tune sharing at the internet.
A priceless assortment for an individual focused on the way forward for tune expertise, this booklet might be of specific curiosity to these designing new track applied sciences, these operating within the tune undefined, in addition to scholars of track and new expertise.
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Additional resources for Consuming Music Together Social and Collaborative Aspects of Music Consumption Technologies
Mmm. Sixty five pounds. A black one as well. Mmm. It’s definitely George Michael. Figure 2-1. Transcript of in-store shopping experience showing the relationship between music being played and the consumer’s experience In this example we were in a somewhat ‘up-market’ store and a new song, George Michael’s ‘Waiting (Reprise)’ began to play, roughly 15 seconds after we entered the shop. , I, the researcher, was meant to be reporting in detail on what the volunteer shopper did). There is, in other words, a lot of blank space where the researcher should have been offering observations.
I became, I think it is fair to say, a different person, and certainly different in a stylistic (paralinguistic) sense to the person I had been only moments before. Music can, as I believe this example helps to highlight, enter in to the ways we perform self in real time and in real space. 37 of the transcript? At this point, the song is developing, becoming more agitated, moving toward a musical climax that occurs some seconds later, and doing so in such a conventional manner that ‘anyone’ familiar with pop music would ‘know’, albeit perhaps not consciously, that we were nearing a musical high-point, one on which, melodically, Michael’s voice actually can be heard to break.
No use of MP3 files. > 11 music purchases a year and >=age 20. No use of MP3 files. > 11 music purchases a year. Listen to MP3 files > 5 times a week. Av. Age 16 % Male 42% 30 42% 27 71% 24 56% As the aim of our original data collection was to uncover the details of music behaviour across a broad spectrum, we used semi-structured interviews to ensure that the important issues we wanted to discuss were covered. The questions we Consuming Music Together 41 asked were designed to probe a range of activities from first awareness of music through to collecting and archiving behaviour.